All_The_Girls_In_The_Schoolyard.alsThe Ableton session
The song on its tracks, with the buses, sends and filter automation already wired up. You open it and start working instead of routing a pile of clips first.
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What You Get
Every song arrives with a MIDI file and an arrangement PDF. Premium plan members can tick two more boxes when songs are written to get the vocal guide tracks and a full Ableton session file (.als). Leave the guide option unticked and the three vocal tracks arrive empty.
dreampop_10_songs.zip ├─ All_The_Girls_In_The_Schoolyard/ │ ├─ All_The_Girls_In_The_Schoolyard.mid │ ├─ All_The_Girls_In_The_Schoolyard.pdf │ └─ All_The_Girls_In_The_Schoolyard.als ← Premium plan, if you asked for it └─ Carpet/ └─ …
Download one song rather than a batch and it arrives as its own zip, named All_The_Girls_In_The_Schoolyard.zip. The song's name is on every file, not just the folder, so drag one into a project of your own and you'll still know what it is a month later. Plans says which tier gets what.
Download a free sample song and open it. The first button packs it the way the Standard plan delivers it, the second the way the Premium plan does.
What Each File Is
All_The_Girls_In_The_Schoolyard.midThe MIDI file
The same song as plain MIDI. Every part on its own track, and the movement that lives in controllers rather than notes, so the swell blooming into a section change and the slow filter sweep. Tick the vocal guide on Premium and the three vocal tracks carry it. Leave it unticked and they arrive empty.
All_The_Girls_In_The_Schoolyard.pdfThe song’s notes
Key, tempo, voice type and the rest of the song’s facts come first. Then the whole arrangement sits on one chart, a row for every four bars and a column for every part, so you can see who plays, how much, and when a figure comes back. Notes on the vocal guide follow. The placeholder words close it.
The MIDI File and the Session
They hold identical music. Neither is the lesser copy, and which one you open depends on what you work in.
In Logic, Reaper, Bitwig, Cubase or Studio One, open the MIDI file. Fourteen tracks arrive in order, with the notes, the velocities, three controller lanes and pitch bend wherever a guitar lead slides. CC74 is the filter sweep, and most soft synths already have it wired to cutoff, so it usually just works. CC11 and CC7 shape the swell together. Point CC74 at a cutoff yourself if your synth ignores it, and that's the only setup there is.
In Ableton, open the session instead. Live throws controller data away when it imports a MIDI file, so the sweep and the swell would both vanish on the way in. The session writes the same movement as automation, which Live does keep, and it arrives with the routing, the sends and a suggested instrument on every track. The .als is the only file here that is for one DAW, and this is why it exists. It comes with the Premium plan, and you ask for it when you write the batch.
The Arrangement PDF and the Genre Pages
The PDF covers one song. Under its key, tempo and voice type, the whole arrangement sits on one chart, with a row for every four bars and a column for every part. A dot says how much a part plays and a letter says what it plays, so a letter that comes back means the same notes again.
The mixing notes aren't in the download. Every track's inserts, pans, sends and levels sit on the genre's mixing page, since they're the same for every song in the genre. Your song never changes once you have it, but that page stays current.
Downloading a Song Again
Every song carries a name like DP-4K2P9WTX. Sign in and download it again from your list of batches any time you like, and it comes back the same song, note for note, as long as the engine hasn't moved on. When a part gets written better, that name comes back playing it the better way.
Your account keeps every song you've written, by its
A song belongs to the account it was written for, and the work behind it never leaves the server.